From Bong Joon Ho’s Long-Planned Commitment as Jury President to Denis Villeneuve’s Surprise Visit, Melita Toscan du Plantier Talks Marrakech Festival’s Magic: ‘This Is Where Filmmakers Truly Meet’
On opening night of the 22nd Marrakech International Film Festival, Melita Toscan du Plantier found herself living a scene worthy of a movie. Walking through the Mamounia Hotel’s sumptuous lobby before heading to the opening cocktail party, she noticed a familiar silhouette waiting discreetly for a car. “I thought, that man really looks like Denis Villeneuve,” she tells Variety. It was in fact Denis Villeneuve — in Morocco secretly, resting from “Dune 3” shoots. Minutes later, Toscan du Plantier had effortlessly swept the Canadian director into the festival’s intimate celebration. “He was kind of our surprise guest,” she says, adding that everyone was delighted to see him, especially Bong Joon, who was there with his jury, including Anya Taylor-Joy (who also stars in “Dune 3”), Jenna Ortega (“Wednesday”), “Past Lives” and “Materialists” filmmaker Celine Song, “Titane” Palme d’Or winner Julia Ducournau, Bralizian director Karim Aïnouz, Moroccan filmmaker Hakim Belabbes and Iranian-American actor-director Payman Maadi. Villeneuve won’t seat in Bong’s chair next year, as “Dune 3” is set to premiere in December 2026, but Toscan du Plantier is hopeful that 2027 could be “the right year.”
These star-studded encounters have become a hallmark of Marrakech under Toscan du Plantier’s helm. The festival’s 22nd edition kicked off joyfully with Bong, who had committed to presiding over the jury 18 months ago. “He blocked the dates a year and a half in advance,” Toscan du Plantier says. “He was serious from the moment he said yes.” The Oscar-winning director of “Parasite” had been encouraged for years by loyal Marrakech attendees, Martin Scorsese and Tilda Swinton, as well as fellow Korean director Lee Su-jin whose thriller “Han Gong-ju” won the festival’s top prize, the Golden Star, in 2013.
For Toscan du Plantier, Marrakech remains a sanctuary and a launchpad where filmmakers have time to watch films, as well as talk and learn from each other. That environment also fuels the festival’s mentorship mission, which runs from the growing industry sidebar, the Atlas Workshops, and its newly launched program for emerging Moroccan producers — seven of whom this year are women. Illustrating the strength of the Atlas Workshops to guide emerging directors, Toscan du Plantier mentions trailblazing filmmaker Asmae El Moudir, whose 2023 hybrid documentary film “The Mother of All Lies” was supported by the Atlas Workshop at different stages, and went on to premiere at Cannes, won Sydney Film Festival’s top prize and picked up Marrakech’s first-ever Golden Star for a Moroccan film.Mentorship isn’t limited to emerging talent at Marrakech. The lush gardens of the Mamounia have become like a retreat for masters who rarely have time to connect, Toscan du Plantier says, recounting how David Cronenberg spotted Alfonso Cuarón and Walter Salles during lunch last year. “He looked like he wanted to join, so I said, ‘David, would you like to sit with us?’ And suddenly they were talking like old friends,” she says. This year, Bong Joon Ho met Cristian Mungiu, a filmmaker he’s admired for a long time, in person for the first time at Marrakech. Early festival highlights this year have included a tribute to Jodie Foster, who presented Rebecca Zlotowski’s “Vie Privée,” and took part in a captivating 90-minute conversation, during which she shared anecdotes – often humorous ones — about working with Scorsese and Robert de Niro on “Taxi Driver,” the influence of her mother, who was also her manager, and how her stance on acting and directing has evolved across six decades. Toscan du Plantier has also orchestrated a generational shift in the Marrakech jury — wish she shared with HRH Prince Moulay Rachid. It began last year with Jacob Elordi (then 27) whom “Frankenstein” director Guillermo del Toro had recommended, telling her he was a true cinephile. This year, she doubled down by bringing in Anya Taylor-Joy and Jenna Ortega, who have a massive Gen-Z following, as well as are film enthusiasts. “Jenna writes down every film she hasn’t seen,” Toscan du Plantier says, adding that these younger talent “bring perspectives that matter for first and second features (competing at the festival), many made by directors their age.”
Speaking with Variety on Monday, Toscan du Plantier broke down how she drives Marrakech’s rise by nurturing young filmmakers, luring renowned auteurs and shaping a festival where talent from different generations come together. She also discussed her diverse producing slate, including Neeraj Ghaywan’s “Homebound,” India’s Oscar entry, which she presented to AMPAS voters at a screening in New York alongside Martin Scorsese, the film’s executive producer and a longtime friend; and is also working with Ramata-Toulaye Sy, whose debut “Banel et Adama” competed at Cannes in 2023, on her second filmYou scored again this year with Bong Joon Ho as president of the jury. How did you pull it off?
Last year, four months before the 2024 festival, I invited Bong Joon Ho to preside. He told me he couldn’t — he was deep into his animated film. But then he said, “If you ask me today for the 2025 Festival, I’ll commit.” People often say things like that, and it’s usually impossible to plan so far ahead. But afterward I called his manager and asked, “Was he serious?” And he said, “Absolutely. He called all of us and told us to block the dates a year and a half from now.” So we kept it quiet and stayed in touch. And here he is — very committed, very happy. He told me he’d also heard wonderful things about Marrakech from Martin Scorsese, Tilda Swinton and several Korean directors. That made a difference.Mentorship seems to be a defining part of the festival. Why is it so central?
Because for a young filmmaker, just knowing that someone like Bong Joon Ho is watching your first film is extraordinary. The competition juries are so strong — it gives emerging directors confidence and visibility. And that spirit continues with the Atlas Workshops, where we accompany Arab, African and Moroccan filmmakers from development through post-production and distribution. It’s not just support; it’s real accompaniment. And mentorship extends to the conversations. Students pack the theaters. The whole festival is free for the Moroccan public — unlike most major festivals — so it’s truly accessible.
This year, the line for Jodie Foster’s conversation was impressive!
We had to turn people away! It’s beautiful to see such young audiences engaging so deeply. And when you look at the Atlas projects, you can feel a new generation rising. Asmae El Moudir is a perfect example: she came to the Atlas Workshops in development, then again in post, then won awards in Cannes and finally the Golden Star in Marrakech — the first Moroccan film ever to win it.
Is there also a mentorship aspect for producers now at the Atlas Workshops?
Yes, we launched a new program for emerging producers. This year, there are seven women. Morocco is seeing an explosion of young women producing and directing, which is incredibly encouraging.What makes Marrakech such a meeting point for so many famous directors?
The environment. There’s no commercial pressure, no film in competition that needs to sell or avoid bad reviews. Filmmakers can breathe. Last year, David Cronenberg saw Alfonso Cuarón and Walter Salles at lunch and hesitated to join. I told him, “David, come sit with us!” Moments later, they were talking like old friends. This year, Bong Joon Ho met Cristian Mungiu for the first time — something that might never happen at a bigger, busier festival.The festival is increasingly positioned during awards season. Is that intentional?
Not originally. But the Gotham Awards now fall right in the middle of our dates, and several people who wanted to come couldn’t. So next year, we’ll start on Nov. 20, before the Gothams and just ahead of Thanksgiving, which will make it easier for American guests. Bill Kramer’s presence this year is important. He’s meeting young filmmakers and members of the Moroccan Academy. We’re proud to have him.
You’ve also been bringing younger voices onto the jury.
Yes. Last year we started with Jacob Elordi, who Guillermo del Toro assured me is a true cinephile. And he was! This year, we brought in Jenna Ortega and Anya Taylor-Joy. Their perspectives matter — many of the competition films are from directors their age. Jenna is incredibly mature; she writes down every film she hears people mention. The chemistry between the established directors, the actors and the younger women is beautiful. And having young jurors also helps the festival speak to a new generation.
Your jurors become ambassadors for Marrakech.
Absolutely. I often receive messages from former jurors saying how transformative the experience was. Walter Salles wrote me something so touching on opening day. It means a lot.
How has the festival impacted Moroccan cinema?
Morocco now produces around 40 films a year — when we began, it was five. We host around 20 festival directors from around the world, including Venice and Berlin programmers, giving them access to Moroccan cinema. Asmae El Moudir’s international success began here. Another example: the director of the Sydney Film Festival discovered her film in post-production at the Atlas Workshops and immediately decided to take it into competition. The festival opens real doors.
You’re also an ambassador internationally for Marrakech. What does that entail?
After a short break from the festival, I start traveling again — to festivals, film sets, Los Angeles during Oscars season, Cannes — meeting people, talking about Marrakech. By June, we begin thinking about the next jury. We always start with the president; a name like Bong Joon Ho, Scorsese or Coppola immediately attracts other jurors. Building the jury is like assembling a puzzle — we aim for balance in gender, nationality, directors and actors. It takes months.Is it like casting a film?
It takes much longer! And the program of film conversations also take time to assemble. People come because they want to share, not because they’re paid. That makes the exchanges so rich.
Do you already have someone in mind for the next jury presidency?
Not yet. I have dreams, of course. I ran by chance into Denis Villeneuve in the hotel lobby on opening night; he was there privately to rest from filming. When I saw him, I thought to myself: ‘That’s strange, that man looks like Denis Villeneuve.’ He was waiting for his car to go back to his hotel. He had just come for dinner. So I went up to him. I said, “Is that Denis?” He said, “Melita, I was going to call you. I didn’t want to bother you. I figured you must be swamped.” And in the end, I took him to the little opening cocktail party, and so he was kind of our surprise guest. Bong Joon Ho was delighted to see him. All the directors, everyone was so happy to see him, and he was delighted to be there.
So could he take over from Bong Joon Ho next year?
Next year won’t be possible because of the release of his next film, “Dune 3,” but perhaps 2027!
You produced “Homebound,” India’s Oscar entry. How is awards season unfolding?
We’re waiting for the shortlist. The press and audiences have been incredible. We had a beautiful screening in New York moderated by Martin Scorsese — he had never met the director, Niraaj, in person until that night. I couldn’t attend the L.A. and London screenings because of the festival, but the team is here in Marrakech and the film screens Thursday with the full cast and crew. Karan Johar is also giving a talk — it’s the first time we welcome such a major Bollywood figure for a conversation.
Will you work again with Neeraj Ghaywan and Karan Johar?
I hope so. Neeraj has become a true friend. Working with Karan and his team was magical. I learned so much about India making this film, about the caste system, about history, and about the human stories behind the COVID crisis. “Homebound” tells an extremely sensitive part of India’s recent past, and the experience was extraordinary.
What are you producing next?
I’m working with Ramata-Toulaye Sy on her second film. It’s a very ambitious subject; she’s taking her time, and I’m happy to support her. I have enormous admiration for her, and I’m delighted to be working with her and my associates at Cheyenne Fédération.
These star-studded encounters have become a hallmark of Marrakech under Toscan du Plantier’s helm. The festival’s 22nd edition kicked off joyfully with Bong, who had committed to presiding over the jury 18 months ago. “He blocked the dates a year and a half in advance,” Toscan du Plantier says. “He was serious from the moment he said yes.” The Oscar-winning director of “Parasite” had been encouraged for years by loyal Marrakech attendees, Martin Scorsese and Tilda Swinton, as well as fellow Korean director Lee Su-jin whose thriller “Han Gong-ju” won the festival’s top prize, the Golden Star, in 2013.
For Toscan du Plantier, Marrakech remains a sanctuary and a launchpad where filmmakers have time to watch films, as well as talk and learn from each other. That environment also fuels the festival’s mentorship mission, which runs from the growing industry sidebar, the Atlas Workshops, and its newly launched program for emerging Moroccan producers — seven of whom this year are women. Illustrating the strength of the Atlas Workshops to guide emerging directors, Toscan du Plantier mentions trailblazing filmmaker Asmae El Moudir, whose 2023 hybrid documentary film “The Mother of All Lies” was supported by the Atlas Workshop at different stages, and went on to premiere at Cannes, won Sydney Film Festival’s top prize and picked up Marrakech’s first-ever Golden Star for a Moroccan film.Mentorship isn’t limited to emerging talent at Marrakech. The lush gardens of the Mamounia have become like a retreat for masters who rarely have time to connect, Toscan du Plantier says, recounting how David Cronenberg spotted Alfonso Cuarón and Walter Salles during lunch last year. “He looked like he wanted to join, so I said, ‘David, would you like to sit with us?’ And suddenly they were talking like old friends,” she says. This year, Bong Joon Ho met Cristian Mungiu, a filmmaker he’s admired for a long time, in person for the first time at Marrakech. Early festival highlights this year have included a tribute to Jodie Foster, who presented Rebecca Zlotowski’s “Vie Privée,” and took part in a captivating 90-minute conversation, during which she shared anecdotes – often humorous ones — about working with Scorsese and Robert de Niro on “Taxi Driver,” the influence of her mother, who was also her manager, and how her stance on acting and directing has evolved across six decades. Toscan du Plantier has also orchestrated a generational shift in the Marrakech jury — wish she shared with HRH Prince Moulay Rachid. It began last year with Jacob Elordi (then 27) whom “Frankenstein” director Guillermo del Toro had recommended, telling her he was a true cinephile. This year, she doubled down by bringing in Anya Taylor-Joy and Jenna Ortega, who have a massive Gen-Z following, as well as are film enthusiasts. “Jenna writes down every film she hasn’t seen,” Toscan du Plantier says, adding that these younger talent “bring perspectives that matter for first and second features (competing at the festival), many made by directors their age.”
Speaking with Variety on Monday, Toscan du Plantier broke down how she drives Marrakech’s rise by nurturing young filmmakers, luring renowned auteurs and shaping a festival where talent from different generations come together. She also discussed her diverse producing slate, including Neeraj Ghaywan’s “Homebound,” India’s Oscar entry, which she presented to AMPAS voters at a screening in New York alongside Martin Scorsese, the film’s executive producer and a longtime friend; and is also working with Ramata-Toulaye Sy, whose debut “Banel et Adama” competed at Cannes in 2023, on her second filmYou scored again this year with Bong Joon Ho as president of the jury. How did you pull it off?
Last year, four months before the 2024 festival, I invited Bong Joon Ho to preside. He told me he couldn’t — he was deep into his animated film. But then he said, “If you ask me today for the 2025 Festival, I’ll commit.” People often say things like that, and it’s usually impossible to plan so far ahead. But afterward I called his manager and asked, “Was he serious?” And he said, “Absolutely. He called all of us and told us to block the dates a year and a half from now.” So we kept it quiet and stayed in touch. And here he is — very committed, very happy. He told me he’d also heard wonderful things about Marrakech from Martin Scorsese, Tilda Swinton and several Korean directors. That made a difference.Mentorship seems to be a defining part of the festival. Why is it so central?
Because for a young filmmaker, just knowing that someone like Bong Joon Ho is watching your first film is extraordinary. The competition juries are so strong — it gives emerging directors confidence and visibility. And that spirit continues with the Atlas Workshops, where we accompany Arab, African and Moroccan filmmakers from development through post-production and distribution. It’s not just support; it’s real accompaniment. And mentorship extends to the conversations. Students pack the theaters. The whole festival is free for the Moroccan public — unlike most major festivals — so it’s truly accessible.
This year, the line for Jodie Foster’s conversation was impressive!
We had to turn people away! It’s beautiful to see such young audiences engaging so deeply. And when you look at the Atlas projects, you can feel a new generation rising. Asmae El Moudir is a perfect example: she came to the Atlas Workshops in development, then again in post, then won awards in Cannes and finally the Golden Star in Marrakech — the first Moroccan film ever to win it.
Is there also a mentorship aspect for producers now at the Atlas Workshops?
Yes, we launched a new program for emerging producers. This year, there are seven women. Morocco is seeing an explosion of young women producing and directing, which is incredibly encouraging.What makes Marrakech such a meeting point for so many famous directors?
The environment. There’s no commercial pressure, no film in competition that needs to sell or avoid bad reviews. Filmmakers can breathe. Last year, David Cronenberg saw Alfonso Cuarón and Walter Salles at lunch and hesitated to join. I told him, “David, come sit with us!” Moments later, they were talking like old friends. This year, Bong Joon Ho met Cristian Mungiu for the first time — something that might never happen at a bigger, busier festival.The festival is increasingly positioned during awards season. Is that intentional?
Not originally. But the Gotham Awards now fall right in the middle of our dates, and several people who wanted to come couldn’t. So next year, we’ll start on Nov. 20, before the Gothams and just ahead of Thanksgiving, which will make it easier for American guests. Bill Kramer’s presence this year is important. He’s meeting young filmmakers and members of the Moroccan Academy. We’re proud to have him.
You’ve also been bringing younger voices onto the jury.
Yes. Last year we started with Jacob Elordi, who Guillermo del Toro assured me is a true cinephile. And he was! This year, we brought in Jenna Ortega and Anya Taylor-Joy. Their perspectives matter — many of the competition films are from directors their age. Jenna is incredibly mature; she writes down every film she hears people mention. The chemistry between the established directors, the actors and the younger women is beautiful. And having young jurors also helps the festival speak to a new generation.
Your jurors become ambassadors for Marrakech.
Absolutely. I often receive messages from former jurors saying how transformative the experience was. Walter Salles wrote me something so touching on opening day. It means a lot.
How has the festival impacted Moroccan cinema?
Morocco now produces around 40 films a year — when we began, it was five. We host around 20 festival directors from around the world, including Venice and Berlin programmers, giving them access to Moroccan cinema. Asmae El Moudir’s international success began here. Another example: the director of the Sydney Film Festival discovered her film in post-production at the Atlas Workshops and immediately decided to take it into competition. The festival opens real doors.
You’re also an ambassador internationally for Marrakech. What does that entail?
After a short break from the festival, I start traveling again — to festivals, film sets, Los Angeles during Oscars season, Cannes — meeting people, talking about Marrakech. By June, we begin thinking about the next jury. We always start with the president; a name like Bong Joon Ho, Scorsese or Coppola immediately attracts other jurors. Building the jury is like assembling a puzzle — we aim for balance in gender, nationality, directors and actors. It takes months.Is it like casting a film?
It takes much longer! And the program of film conversations also take time to assemble. People come because they want to share, not because they’re paid. That makes the exchanges so rich.
Do you already have someone in mind for the next jury presidency?
Not yet. I have dreams, of course. I ran by chance into Denis Villeneuve in the hotel lobby on opening night; he was there privately to rest from filming. When I saw him, I thought to myself: ‘That’s strange, that man looks like Denis Villeneuve.’ He was waiting for his car to go back to his hotel. He had just come for dinner. So I went up to him. I said, “Is that Denis?” He said, “Melita, I was going to call you. I didn’t want to bother you. I figured you must be swamped.” And in the end, I took him to the little opening cocktail party, and so he was kind of our surprise guest. Bong Joon Ho was delighted to see him. All the directors, everyone was so happy to see him, and he was delighted to be there.
So could he take over from Bong Joon Ho next year?
Next year won’t be possible because of the release of his next film, “Dune 3,” but perhaps 2027!
You produced “Homebound,” India’s Oscar entry. How is awards season unfolding?
We’re waiting for the shortlist. The press and audiences have been incredible. We had a beautiful screening in New York moderated by Martin Scorsese — he had never met the director, Niraaj, in person until that night. I couldn’t attend the L.A. and London screenings because of the festival, but the team is here in Marrakech and the film screens Thursday with the full cast and crew. Karan Johar is also giving a talk — it’s the first time we welcome such a major Bollywood figure for a conversation.
Will you work again with Neeraj Ghaywan and Karan Johar?
I hope so. Neeraj has become a true friend. Working with Karan and his team was magical. I learned so much about India making this film, about the caste system, about history, and about the human stories behind the COVID crisis. “Homebound” tells an extremely sensitive part of India’s recent past, and the experience was extraordinary.
What are you producing next?
I’m working with Ramata-Toulaye Sy on her second film. It’s a very ambitious subject; she’s taking her time, and I’m happy to support her. I have enormous admiration for her, and I’m delighted to be working with her and my associates at Cheyenne Fédération.